The closing moments remind us of the ongoing power of Patrick’s spirituality.

It’s a gritty, moving, heartfelt film that explores the heart of a man in pain.

This flamboyant delivering of more than promised feels like something that Harley would be pleased to become known for.

This is both a warning shot about male privilege and encouragement for women to speak up about equity in the workplace.

The effect, overall, is that of a middle-aged, milder version of the unlamented "Jackass" franchise.

Authentic yet original, powerful yet not over-dramatic, simple yet stirring, all at once.

Distinctively projecting feelings of rising paranoia, it is about corporate greed.

No great movie, but it is, as Hitchhiker's Guide to the Galaxy said of Earth, "Mostly harmless." That's rare enough to earn it a qualified recommendation.

The prevailing impression is left by Franz and Fiala’s strong direction, not their so-so writing

In order for those two stories to become one and stay one, serious work needs to be done.

We may be reminded of the core basic plot of Joseph Conrad’s Heart of Darkness.

What are the silences in our own lives? How can we be more mindful of the silences of others?

We are invited to empathise with Claire, her sadness and disappointment, touches of melancholy on the beach.

Jojo’s inner thoughts that dominate the novel are manifested as imaginary friend Hitler. A bold choice, and it works.

An inventive anti-hate satire that walks a fine line between comic fantasy and tragedy.

Because his life had so many complex layers, tying them all together into a two-hour narrative is no small task. 

Is doing good in exchange for nothing worth it?

 The viewer is left intriguingly with the question, “Is what you have seen the truth, or not?”

The movie's depiction of Jack's recovery is so unrealistic as to be unsettling.

Awkward moments abound in this comedy, while laughs are likely to be far less frequent.